ANTHOLOGY FILM ARCHIVES April - June 2012

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PROGRAM 1: THE GREAT BLONDINO PREVIEW (1967, 4 minutes, 16mm) William Allan & Bruce Nauman FISHING FOR ASIAN CARP (1967, 3 minutes, 16mm. Sound by Robert Nelson.) HOT LEATHERETTE (1967, 5 minutes, 16mm, b&w) GRATEFUL DEAD (1967, 8 minutes, 16mm) MORE (1971/98, 20 minutes, 16mm, b&w) THE GREAT BLONDINO (with William T. Wiley, 1967, 43 minutes, 16mm, b&w/color) Total running time: ca. 90 minutes. –Friday, april 27 at 7:30. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– PROGRAM 2: OH DEM WATERMELONS (1965, 11 minutes, 16mm) DEEP WESTURN (1973, 5 minutes, 16mm, b&w/color) THE OFF-HANDED JAPE (with William T. Wiley, 1967, 8 minutes, 16mm) Chris Langdon PICASSO (1973, 3 minutes, 16mm, b&w) LIMITATIONS (1988, 9 minutes, 16mm, b&w) PENNY BRIGHT & JIMMY WITHERSPOON (1967, 4 minutes, 16mm) THE AWFUL BACKLASH (with William Allan, 1967, 14 minutes, 16mm, b&w) BLEU SHUT (1970, 33 minutes, 16mm, b&w/color) Total running time: ca. 95 minutes. –saturday, april 28 at 6:30. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– PROGRAM 3: SUITE CALIFORNIA STOPS & PASSES PART 1: TIJUANA TO HOLLYWOOD VIA DEATH VALLEY (1976, 46 minutes, 16mm, b&w/color) & SUITE CALIFORNIA STOPS & PASSES PART 2: SAN FRANCISCO TO THE SIERRA NEVADAS & BACK AGAIN (1978, 48 minutes, 16mm, b&w/color) Total running time: ca. 100 minutes. –saturday, april 28 at 8:45. 8 retrOspectiVes Robert Nelson HAULING TOTO BIG hAiry hAnDmADe oBJects: the Films oF roBert nelson April 27-29 Sadly, memorial screenings have been occuring frequently here at Anthology lately. After the painful losses last year of George Kuchar, Adolfas Mekas, Robert Breer, Owen Land, and Jordan Belson, the opening weeks of 2012 brought news of the death of Robert Nelson, who was a crucial figure in the west coast underground film movement throughout the 1960s, 70s, and beyond. Nelson is responsible for some of the most singular, mischievous, flat-out funny films in avant-garde cinema. Best known for works such as OH DEM WATERMELONS, THE GREAT BLONDINO, THE OFF-HANDED JAPE, and BLEU SHUT, Nelson’s films are formally audacious, entirely unpredictable, and profoundly oddball. This comprehensive tribute encompasses not only the majority of the films and videos Nelson created throughout his career, but also works that he collaborated on with other artists, audio recordings, and films about Nelson. “I think New York, it reminded me of what I imagined Egypt to be like at the height of some majestic dynasty. Because, the artistic formalism, the formalism everywhere, in every expression, even on TV, was very exciting. Once I got there, [my] film looked to me…like something a gypsy brought in a blanket and rolled out on the sand, like a bunch of hairy handmade objects that were all sort of laying there.” –Robert Nelson, CANYON CINEMANEWS interview by Henry Hills, 1978 Mark Toscano of the Academy Film Archive will be present to introduce the programs and reminisce about Nelson, whose films he has been actively preserving for the last decade. All films are by Robert Nelson, unless otherwise noted. With the exception of FISHING FOR ASIAN CARP and Program 5, all prints are courtesy of the Academy Film Archive. very special thanks to Mark Toscano & May Haduong (Academy Film Archive), Dominic Angerame (canyon cinema), Marcy Saude, and Marian Wallace. PROGRAM 4: Marcy Saude ALTERNATIVE STRATEGIES 1: HANDMADE HOME (2012, 6 minutes, video, b&w/color) KING DAVID (with Mike Henderson, 1970-73/2003, 8 minutes, 16mm) HAMLET ACT (1982, 22 minutes, 16mm, b&w) SPECIAL WARNING (1999, 5 minutes, 16mm, b&w/color) & HAULING TOTO BIG 1997, 46 minutes, 16mm, b&w. Total running time: ca. 90 minutes. –sunday, april 29 at 6:30. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– PROGRAM 5: Marian Wallace THE COUNTER CULTURE HOUR WITH GUEST: ROBERT NELSON 2011, 58 minutes, video. “Robert Nelson came by the RE/Search office, and this video documents the visit and conversation between Robert and (mostly) v. vale. I was having technical difficulties, but couldn’t let Robert know or he would probably have ‘had to go’ right away, so the documentation also includes me ‘pretending nothing was wrong’ to stretch out the visit as long as possible. THE cOUNTER cULTURE HOUR, hosted by v. vale, appears monthly on public access Tv in San Francisco.” –M.W. –sunday, april 29 at 8:45.
PASOLINI L’ENRAGÉ 1966/93, 65 minutes, video. In French and Italian with English subtitles. Borrowing a title from Jean Paulhan, Fieschi sketches the arc of Pasolini’s still-developing career, following the filmmaker to the places he lived and worked, meeting friends and collaborators (Franco and Sergio citti, Ninetto Davoli), and listening as he talks about cinema and linguistics, about the relationship between Rome’s urban poor and their counterparts in the Third World, or about the rage he feels towards the ruling classes of the West. “One of the best entries in the cINEMA OF OUR TIME series.” –Jean-claude Biette & NINETTO THE MESSENGER / NINETTO LE MESSAGER 1995, 28 minutes, video. In Italian and French with English subtitles. Thirty years later, a second meeting with Ninetto Davoli which fulfills the promise of the first. Davoli rewatches and comments on that initial encounter, moves on to what came next, and then further forward to what was still to come. This triple portrait – of Davoli, of Pasolini, of Fieschi himself – has nothing to do with nostalgia: it is a film about continuity. –thursday, may 3 at 7:00 and sunday, may 6 at 4:15. retrOspectiVes MOSSO MOSSO (JEAN ROUCH AS IF…) NIGER, NEW IMPRESSIONS OF AFRICA Anything coUlD hAPPen here: the Films oF JeAn-AnDrÉ Fieschi May 3-6 “But not far away at the Trianon, and almost by accident, we saw a western in which, during a saloon scene, drops of blood trickled from the ceiling into a glass of beer. It was a revelation.” –Jean-André Fieschi, Z AUX OISEAUX Jean-André Fieschi worked the angles and edges of cinema for over forty years, patiently elaborating texts and films driven by the mad pull of discovery and an intense respect for secrets. Like many in France, he came to the movies through writing. With colleagues like Jacques Rivette, Jean Narboni, Jean-Louis Comolli, and Jean-Pierre Biesse, he was instrumental to CAHIERS DU CINÉMA’s aesthetic shift towards the New Cinemas of the mid-sixties, and went on to produce some of the best pieces we have (see Roud’s CINEMA: A CRITICAL DICTIONARY for some of them) on directors he loved: Tati, Rouch, Buñuel, Straub and Huillet, Zucca, Eustache. His films run parallel to this critical sensibility, and combine its synthetic insights and its close attention to detail with an adroit and increasingly subtle sense of pacing. They are conspiratorial works, both warm and enigmatic, in which, within the grid of a clearly-defined subject, the length of each shot and the nature of the one that follows are impossible to predict. Like all great explorers, Fieschi created work whose beauty is tied to a sense of adventure, to the feeling that from moment to moment, as Gene Tierney said in THE SHANGHAI GESTURE, anything could happen here. It can, and it does: you’ll see Rohmer disco dancing, Nerval’s grave, Pasolini turned down by the crew after murmuring cut, camels wandering over the Kennedy Bridge in Niamey, Niger. In each case, these small epiphanies are the basis for a connection, a relationship, even a kind of solidarity with the world, and with its ghosts. Anthology Film Archives is proud to present the first American retrospective of films Fieschi made and defended, in honor of an inspirational figure who arrived at exactly the right time and left us far too soon. Introduction and film descriptions by series curator Sam Di Iorio (Hunter college). Presented with the invaluable support of the French cultural Services of the French Embassy. Special thanks to Marthe & Simon Fieschi; Françoise Risterucci; Bernard Eisenschitz; Delphine Selles-Alvarez & Muriel Guidoni (cultural Services of the French Embassy); Hwa-Seon choi (Doc & Film International); Jay Schwartz; Todd Wiener & Steven Hill (UcLA), and Robert cargni (International House). THE ACCOMPANIMENT / L’ACCOMPAGNEMENT 1966, 25 minutes, 35mm-to-video. In French with English subtitles. Unable to complete the soundtrack he’s been hired to write, a composer’s career winds down. Dedicated to Julio cortázar, Fieschi’s first fiction takes a hard look at counterpoint using a form which unravels as quickly as the nerves of its frazzled hero. Featuring key names in sixties French modernism – Maurice Roche, claude Ollier, Marcelin Pleynet – iconic appearances by film world contenders – Edith Scob, Koichi Yamada, and, briefly, André Téchiné and Jean Eustache – and an alternately close-miked and ethereal score by Francis Miroglio, who went on to direct Les Nuits de la Fondation Maeght. “Now that I’ve had a chance to see THE AccOMPANIMENT a second time, I’m more impressed than ever with its artistry. The set-ups, the editing, the score – it’s all remarkable.” –Dan Selznick, Universal Pictures THE GAME OF TRAVELS, PART 1 / LE JEU DES VOYAGES 1987-99, 45 minutes, video. In French with English subtitles. Like Rivette in LE PONT DU NORD, Fieschi cuts a hand-plotted route across the outlying regions of French cinema in this, the lunar masterpiece at the heart of his filmography, and the place where all of his interests come together. Part guidebook, part unclaimed property bureau, part fiendish plot, part zoo, THE GAME OF TRAvELS is a twenty-seven part, twenty-hour labyrinth in which slivers of film accumulated over the course of projects and routines are reshaped to form a seismic register of ideas, worries, jokes, and wonders. The majority of the film still awaits public screening, but we have been able to subtitle the first episode especially for this series. This first part sets the tone for what follows, moving from the graves at Père Lachaise to Anouk Grinberg reading Jean Paulhan via Nanni Moretti, André S. Labarthe and Danielle Anezin in the editing room, and a begrudging detour involving Jim Morrison. Jean-Luc Godard THE NEW WORLD / LE NOUVEAU MONDE 1962, 20 minutes, 16mm. In French with English subtitles. Godard’s seldom-seen contribution to the 1963 omnibus film RoGoPaG is a rough draft of ideas he would develop in cONTEMPT and ALPHAvILLE. After sleeping through a massive atomic explosion, a love-struck man wakes to find Paris overrun by pill-popping freaks (one of them played by Fieschi) and realizes that the blast has changed language, reason, and the nature of emotions. Total running time: ca. 95 minutes. –thursday, may 3 at 9:15 and saturday, may 5 at 7:00. – continues on next page – 9
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ANTHOLOGY FILM ARCHIVES April - June 2012

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